Halloween 8
by Sly Guy
Summary: Sly Guys screenplay for a possible Halloween 8!


HALLOWEEN 8  
  
by Sly Guy  
  
SCREEN IS BLACK  
OVER which we HEAR a slow, rhythmic CLACK-CLACK-CLACK, hard and insistent as the beat of a   
petrified heart. And SUDDENLY FLUORESCENT LIGHT invades our space, harsh and ugly, and we   
find ourselves in a featureless white CORRIDOR that seems to stretch to infinity. Soft and   
muffled, as if coming from some hidden dimension, we hear crazed laughter, pathetic   
whimpering, wild canine yelping: the sounds of madness emanating from the walls...  
then FOOTSTEPS.  
  
FEMALE VOICE (OVER)  
Sometimes, when I'm up here late at night, I think of the tunnel, you know, the one you're   
supposed to see when you die? Only there's a door at the far end, and on the other side is   
either heaven or hell.  
(a beat)  
In my mind...it's this door.  
  
ANGLE ON A DOOR  
at the far end of the corridor. There's a window in it.  
  
FEMALE VOICE #2 (OVER)  
Um. Dr. Howard said five milligrams Zyprexa twice a day. Or was that Dr. Fein?  
  
FEMALE VOICE #1 (OVER)  
Howard. Fein's the one with the curly hair.  
  
FEMALE VOICE #2 (OVER)  
Right. Why's she here?  
  
Int. SaNITARIUM - night  
Two nurses walk down the hall, pushing a medicine cart, their uniforms as hard white as the   
fluorescence. The first voice belongs to HEAD NURSE WELLES, the other to NURSE PHILLIPS, a   
young newcomer to the facility. The CLACKING sound, everpresent, grows LOUDER.  
  
NURSE WELLES  
Extreme dissociative disorder. Hasn't said a word in two years. At least to anyone you or I   
can see.   
  
NURSE PHILLIPS  
Why's she in lockdown?  
  
The older woman looks at the younger one.  
  
NURSE WELLES  
You've never heard of Laurie Strode?  
  
The novice shakes her head.  
  
NURSE WELLES  
The Halloween murders? Michael Myers?  
  
NURSE PHILLIPS  
I...just moved here from Wisconsin.  
  
NURSE WELLES  
She decapitated a man.  
  
FLASH TO:  
  
LAURIE STRODE  
SWINGING a fire ax in one terrible vicious arc -- BEHEADING the man trapped between the tree and  
the EMS van --  
  
BACK TO:  
  
int. SANITARIUM - NIGHT  
as the two nurses continue down the corridor.  
  
NURSE PHILLIPS  
My God. Decapitated?  
  
FLASH TO:  
  
THE COUNTRYSIDE  
as POLICE cover the area for evidence while in the background we see the headless body being   
removed. Suddenly we hear:  
  
VOICE (O.S.)  
Over here!  
  
ANGLE ON TWO COPS  
standing over the severed head, which still wears the white mask. One of them reaches down and  
pulls the mask off.  
  
COP  
(gagging)  
Oh, no. Oh, God....  
  
NURSE PHILLIPS (V.o.)  
Why'd she do it?  
  
BACK TO:  
  
Int. SANITARIUM - nIGHT  
as the two nurses approach the door at the end of the hall.  
  
NURSE WELLES  
I don't know, does insanity run in families? Are people born evil or can they be made that way?  
  
NURSE PHILLIPS  
Um, we didn't really study that  
in --  
  
NURSE WELLES  
I guess those are philosophical questions, not psychiatric  
ones, right?  
  
They stop at the door. A small square of reinforced glass looks into the room.  
  
POV INSIDE ROOM  
where we see the perfectly-arranged items, as if some attempt has been made to find order in a   
random universe. It resembles a teenage girl's room, circa late seventies, a haven for someone  
surrounding herself with the artifacts of a gentler past.  
  
We hear the CLACK-CLACK-CLACK...and move SLOWLY to FIND  
  
LAURIE STRODE  
sitting in a straight-backed chair, tilting it back and forth as if it were a rocking chair.   
It rises up, then clacks back to the tile floor, a metronome counting down the end of time.  
  
FLASH TO:  
  
Int. THE HILLCREST ACADEMY - night  
Michael Myers is lying on the floor. We hear SIRENS in the distance...the sound of the door   
OPENING...FOOTSTEPS.  
  
TWO POLICE OFFICERS  
are the first on the scene. They enter cautiously, moving slowly with guns drawn. They notice   
the body lying nearby.  
  
OFFICER  
See if he's still breathing. I'll secure the floor.  
  
The other cop steps over, looks at the body, the blood.  
  
OFFICER #2  
No way, man. This guy is chum.  
  
He turns back to his partner, who's disappeared further inside.  
And Michael Myers RISES to a sit behind him....  
  
BACK TO:  
  
LAURIE SITTING  
in her chair, rocking gently. Eyes open but unseeing.  
  
FLASH TO:  
  
Int. THE HILLCREST ACADEMY - night  
as Michael GRABS the cop from behind, bringing him down quickly, wrapping one big hand around   
the man's throat and CRUSHING his windpipe -- then SMASHING his head into the floor, knocking   
him senseless. He quickly starts removing the unconscious man's police uniform.  
  
BACK TO:  
  
Int. THE SANITARIUM ROOM - NIGHT  
where we are MOVING SLOWLY into Laurie's EYES....  
  
FLASH TO:  
  
Int. THE HILLCREST ACADEMY - NIGHT  
The first cop returns to the room just in time to see a SHAPE slipping out through a side door.  
It is wearing a police uniform. It moves out into the night and is gone.  
  
OFFICER #1  
(calling out)  
Ron? Where the hell you going?  
  
Then he looks back down at the body on the floor, wearing the bloody jumpsuit, the white mask.  
  
BACK TO:  
  
LAURIE'S EYES  
as they become giant mirrors of a haunted soul.  
  
FLASH TO:  
  
Int. Ems truck - nIGHT  
As Laurie drives the commandeered vehicle as the man in the white mask fights his way out of the  
body bag behind her --  
  
FLASH TO:  
  
LAURIE SLAMMING  
the BRAKES as the body is PROPELLED through the windshield --  
  
FLASH TO:  
  
THE EMS VAN  
CRASHING down the hill and PINNING the man against the tree --  
  
FLASH TO:  
  
THE FIRE AX  
in Laurie's hands SWINGING in one unmerciful arc --  
  
FLASH TO:  
  
THE SEVERED HEAD  
lying on the ground, as a hand reaches to pull off the white mask...and we see the face of the   
police officer revealed.  
  
BACK TO:  
  
LAURIE'S EYES  
as we are sucked into the enormous black pupils until we suddenly REVERSE ourselves and are   
  
LOOKING THROUGH LAURIE'S EYES  
and OUT THE WINDOW of the SANITARIUM and INTO THE WOODS surrounding the facility -- where we get  
just the faintest glimpse of a dark shape, white face, moving, moving --  
  
Then we hear the door OPENING and the two nurses entering. They move around in front of us,   
wheeling the medicine cart alongside the chair. We notice the different bottles of medicine,   
several hypodermic syringes.  
  
Nurse phillips  
Does anyone come by to visit her?  
  
Nurse welles  
Her son used to, but then he just stopped.  
  
WIDER ANGLE  
as Nurse Welles gently places a pill on Laurie's tongue, then washes it down with a paper cup of  
water. She straightens.  
  
But SUDDENLY Laurie's body starts to CONVULSE violently, KNOCKING over the medicine tray. Her   
chair TOPPLES to the floor beside the spilled medicine bottles and syringes.  
  
The two nurses struggle to get her calm again, finally righting the chair. Laurie seems over   
it. Nurse Phillips bends to gather up the medications.  
  
Nurse PHILLIPS  
Jesus. Has she ever done that before?  
  
Nurse WELLES  
Not on my watch. I'll talk to Dr. Howard in the morning about upping her meds.  
  
And Laurie watches through her vacant eyes as the two nurses leave the room, locking the door   
behind them.  
  
But she is concealing something in her hand....  
  
CUT TO:  
  
Int. Sanitarium - night  
The MAIN FLOOR, where a bored night-duty staffer, FRANKLIN MUNROE, is sitting at the security   
desk by a bank of MONITORS when he hears FOOTSTEPS. He gets up, moves to the hallway.  
  
FOLLOW FRANKLIN  
around a corner. He stops.   
  
POV DOWN THE HALL  
he sees nothing. It's silent again.   
  
ANGLE ON FRANKLIN  
as he starts to turn back -- when SUDDENLY a SHAPE comes out of the darkness of a doorway.   
Franklin JUMPS back, almost slamming into a wall, catching his breath.  
  
FRANKLIN  
Jesus Christ, Harold! You trying to give me a heart attack?  
  
The figure moves into the half-light and we see it's one of the patients, walking with the   
stiff movements of neurological disorder. He's wearing a bright red-and-white clown mask.  
  
FRANKLIN  
How the hell you get out this time?  
  
Franklin takes the man's arm and walks him down the hall.  
  
FRANKLIN  
Who you supposed to be today?  
(nodding at the mask)  
Oh, yeah, I get it. Gacy, right?  
  
HAROLD  
(savant monotone)  
John Wayne Gacy. Born in Chicago, Illinois on March 17, 1942. Killed thirty-three people and   
buried them under his house. Executed on May 14, 1994.  
  
His voice trails off as they disappear down the hall.  
  
CUT TO:  
  
Ext. SANITARIUM - NIGHT  
We find another staffer, WILLIE HAINES, sneaking a smoke just inside the facility's gates. He   
watches the smoke curl lazily in the night air. Then something CRUNCHES in the bushes just   
beyond the steel fence. Willie turns and looks.  
  
POV INTO WOODS  
bordering the well-tended grounds. It's DARK and QUIET.  
  
ANGLE ON WILLIE  
as he turns away and takes a deep drag of his cigarette. Then we hear the CRACK of a branch.   
Willie snuffs out his cigarette and goes over to the gate and opens it. He steps outside the   
sanitarium grounds. He pulls his flashlight from his belt and surveys the near woods.   
  
Suddenly there's a SOUND, and his flashlight beam SWINGS up to  
  
ANGLE ON FIGURE  
standing there in the dark, just in front of the trees. The FLASHLIGHT BEAM moves up the figure.  
..to the dark jumpsuit...the white mask.  
  
ANGLE ON WILLIE  
looking at the figure standing there. He shakes his head.  
  
WILLIE  
Damn, Harold, you like to scare the shit out of me. How many times I tell you I'm the one gets   
stepped on every time you get out?  
  
He turns toward the gate, then back to the figure in the mask.  
  
WILLIE  
Well? Come on.  
  
And the figure follows him onto the sanitarium grounds.  
  
WILLIE  
(looking at the mask)  
Who you supposed to be today? Hmm. White mask, white mask....Don't think I know that one.  
  
CUT TO:  
  
INt. SANITARIUM - night  
Franklin Munroe looks up as Willie enters with the other man.  
  
FRANKLIN  
God damn. He get out again?  
  
WILLIE  
Don't know how he does that shit.  
(to figure)  
You stay right the fuck there.  
  
Willie sidles over to the security desk, looks at Franklin.  
  
WILLIE  
We really got to write this up?  
  
FRANKLIN  
You like your job?  
  
But Willie isn't paying attention. He is looking at  
THE SECURITY MONITORS  
which show the different floors of the facility. And on one of them we see Harold wandering   
around in his clown mask....  
  
ANGLE ON  
Franklin looking at the monitor, then back at Willie, then over at the hall where the figure   
was standing -- but he's no longer there.  
  
FRANKLIN  
Shit!  
  
And both men are up and moving.  
  
FRANKLIN  
Check outside, I've got the floors.  
  
CUT TO:  
  
Int. HALLWAY - NIGHT  
The TOP FLOOR. A dark shape, in silhouette, MOVES down the white corridor as if following some   
sense only he possesses.  
  
POV DOWN HALL  
where we see the single door...and we begin to hear the steady rhythmic CLACK-CLACK-CLACK from   
just beyond it.  
  
CUT TO:  
Int. another floor- NIGHT  
We find Franklin running down the hallway till reaching one of the doors and quickly OPENING it   
-- and INSIDE we find Harold, now in a Ted Bundy mask, sitting in bed with a Detective magazine.  
The walls are covered with novelty masks of infamous serial killers. He looks at Franklin and   
blinks.  
  
HAROLD  
Ted Bundy, born November 24, 19 --  
  
But Franklin is already out the door and moving down the hall.  
  
CUT TO:  
  
Int. TOP FLOOR - NIGHT  
as Michael approaches the door at the end of the hall with utter unstoppable determination. The  
CLACKING gets louder.  
  
POV THROUGH THE WINDOW  
looking INTO Laurie's ROOM. Laurie is sitting in her chair, rocking back and forth. SUDDENLY   
we MOVE  
  
THROUGH THE GLASS  
to see what's on the other side of the window as MICHAEL'S FACE stares back at us from just   
outside the door.  
  
ANGLE ON  
brother and sister staring at each other for one interminable instant -- then Michael THRUSTS   
his body into the door.  
  
CUT TO:  
  
Int. STAIRWELL - nIGHT  
Franklin reaches floor after floor, pokes his head into the hall, sees nothing, then ducks back  
in, continues the search.  
  
CUT TO:  
Int. top floor - NIGHT  
Michael POUNDS at Laurie's door with desperate animal ferocity, until one of the hinges BURSTS   
free of its housing. He is about to hit the door again when he notices something:  
  
HIS POV  
through the little window -- and the room appears empty.  
  
ANGLE ON MICHAEL  
as he gives one last mighty THRUST of his shoulders and the door BURSTS OPEN --  
  
Int. laurie's room - CONTINUOUS  
Michael charging blindly inside --   
  
AS LAURIE LUNGES  
at him from the side, a hypodermic syringe raised high in her hand -- and she PLUNGES it into   
Michael's neck and squeezes the air inside him.  
  
He drops to his knees as the embolism hits him. She stares into his eyes as his body convulses.  
  
Laurie  
Did you really think I wouldn't be waiting for you?  
  
He reaches out to grab her but she runs through the door.  
  
Int. HaLLWAY - CONTINUOUS  
Laurie running down the hall as Michael staggers to his feet, starts coming after her in his   
methodical gait.  
  
Int STAIRWELL - FOLLOWING  
Laurie ducks inside, barrels up the flight of the stairs and through the door to the roof,   
setting off the ALARM.  
  
Ext. Roof - CONTINUOUS  
Laurie runs across the roof, turns to looks back at  
  
THE DOOR  
-- as Michael comes out after her. He's in no hurry: there's nowhere for her to go.  
  
ANGLE ON LAURIE  
as she turns to face him, unafraid.  
  
Laurie  
Just you and me, right? Isn't that the way it needs to be?   
  
She takes a step backward. Then another. He moves forward slowly, then hesitates.  
  
Laurie   
(continuing)  
What's the matter, just hate to see it end?   
  
They look at each other across the roof.  
  
LAURIE  
(continuing)  
You tried to turn me into you, but you failed. And you'll never find my son. Never.  
  
He just stares at her through empty eyes.  
  
LAURIE  
(continuing)  
You can kill me, but you can't take my soul -- it's not mine to give.  
  
She takes another step backward.  
  
ANGLE TO SEE  
she is standing almost at the very edge of the roof.  
  
ANGLE ON MICHAEL  
as his hesitation leaves him. He strides purposefully forward until they are standing only a   
few feet apart.  
  
He has a knife in his hand. She looks at it, at him.  
  
LAURIE  
(barely a whisper)  
I'm not afraid to die...  
  
He looks into her eyes with a weird curiosity.  
  
LAURIE  
(continuing)  
...and I'm not afraid of you.  
  
And he THRUSTS the knife up into her stomach --   
But she clasps both hands around his wrist in an iron grip --  
  
LAURIE  
Come with me, Michael....  
  
And she steps backward and OVER the edge of the roof, PULLING Michael, who's still gripping the   
knife, over with her....  
  
ANGLE ON THEM  
as Michael catches the edge of the roof with one hand, his other still gripping the knife   
imbedded in her belly as she holds onto his wrist, trying to pull him down with her.  
  
CLOSER ON THEM  
as once again, and for the last time, their eyes meet, this time only inches separating them --  
He lets go of the knife --   
  
And Laurie FALLS, free of him forever --  
  
THROUGH MICHAEL'S EYES  
we see her body hit the dark rocky hillside far below.  
  
ANGLE ON MICHAEL  
as he slowly pulls himself back up onto the roof. He stares down into the unfathomable depths   
and  
  
SUDDENLY HIS IMAGE  
seems to SHIMMER...then PIXILATES into a  
  
VIDEO IMAGE  
of Michael Myers on a TV MONITOR -- a GRAPHIC of a WEB PAGE.  
  
VOICE (OVER)  
My guest tonight is Internet entrepreneur Freddie Harris, whose latest venture seems to have   
captured the imagination of Net surfers everywhere.  
  
int. newsroom studio - NIGHT  
where an INTERVIEW is ON THE AIR. Host BARRY FISHER sits across a desk from tonight's guest,   
FREDDIE HARRIS.  
  
Freddie  
Well, Barry, to succeed you have to keep your finger on the pulse of America. The Net is real,   
it's immediate. Anything can happen -- and we hope it does.   
  
BARRY  
To those viewers who may not know, tomorrow night, Halloween, live on the Internet, five college  
students are going to enter the childhood home of infamous mass murder Michael Myers.  
  
Freddie   
Barry, we are going to explore the heart of darkness, the enigma inside the conundrum in the   
center of the riddle: the childhood home of the most brutal mass murderer in history.  
  
Barry  
Well, I don't know if it's really --  
  
Freddie  
This is the house where Michael Myers was born, where he spent his formative years. If there   
are any secrets to be learned about why he did what he did -- they're in that house. And   
tomorrow night we'll uncover them.  
  
Barry  
I've read where you've promised the five students free college tuition through graduation.  
  
Freddie  
All they have to do is spend the night in the house and discover the truth behind the killer.  
  
BARRY  
This is be the first Internet production of its kind, isn't that true?  
  
Freddie  
(selling it)  
This is where it's all heading, Barry. Put down the remote and pick up your mouse -- this ain't  
TV, it's real life. The Net as a source of entertainment is an unstoppable force. Or, as I   
call it...Netertainment!  
  
BARRY  
Well, that's quite the sales pitch, Freddie. But do you have any concerns for the safety of the  
six students? I mean, the house hasn't been entered in how many years?  
  
Freddie  
We're not looking to get anyone hurt, Barry, just uncover the truth behind a legend.  
  
BARRY  
What do you think it says about a society that so many of us are willing to sit back and watch   
other people do things, on TV, and, now, on the Net?  
  
Freddie  
See, Barry, I believe reality is he biggest illusion of all. Did you know I'm a practicing   
Buddhist? Who's to say that virtual reality is any less real that real reality?  
  
BARRY  
Well, I'm not really sure I --  
  
Freddie  
Besides, doesn't everyone have just a little of the voyeur in them?  
  
BARRY  
Well, I'll let that be a rhetorical question. How were the students picked?  
  
Freddie  
They were chosen from among the student body of Braddock University just outside Haddonfield.   
They represent a cross-section of America. We've got Jim Douglas....  
  
CUT TO:  
  
Int. Dorm room - day  
The room is in an astonishing state of disarray, books and half-written term papers co-mingling   
with beer cans and bongs. JIM DOUGLAS is talking to an unseen INTERVIEWER. The sequence is   
shot in STREAMING VIDEO.  
  
INTERVIEWER (O.S.)  
What about the publicity? The loss of privacy?  
  
JIM  
Privacy? That's a joke, man. Who's ever private anymore? Anywhere you go -- the bank,   
7-Eleven -- there's a camera. You can't even screw your girlfriend in an elevator anymore   
without winding up on "America's Most Outrageous Copulations." Privacy is an antiquated notion,  
man.  
  
Freddie (V.O.)  
Donna Chang....  
  
CUT TO:  
Int. another dorm room - day  
This one couldn't be more different from Jim's. It's neat and ordered; the walls are covered   
with posters of Gloria Steinen and Eleanor Smeal. DONNA CHANG, bright, intense, is being   
interviewed in STREAMING VIDEO.  
  
DONNA  
I don't know why I sent my name in. In many ways it's against everything I believe in.   
I mean, the sensationalism and everything. But I'm fascinated by the narratives that inform our  
culture. This is just one of those narratives.  
  
Freddie (V.O.)  
Jenna Cartman....  
  
CUT TO:  
  
Int. University cafeteria - DAY  
Where we find JENNA CARTMAN, pretty and pouty in jeans and sweatshirt, working a waitress shift.  
  
JENNA  
Well, we're all, like, different people. Donna is real, you know, political. She's all like,   
you shouldn't buy into this whole Madison Avenue paternal media whatever. Like I give a shit   
that some fat chick burned her bra fifty years ago.  
  
Freddie (V.O.)  
Rudy Johnson....  
  
CUT TO:  
  
Int. Kitchen - dAY  
At the university's Home Economics program, where we watch RUDY JOHNSON in STREAMING VIDEO as he  
prepares a soufflé.  
  
RUDY  
A group of people is like the ingredients in a recipe. You have to nurse them along, be   
attentive, and everything will blend just perfectly. If you don't -- disaster.  
  
He flashes a smile as he slips the soufflé in the oven.  
  
Freddie (V.O.)  
Bill Woodhouse....  
  
CUT TO:  
Ext. Athletic field - DAY  
We FOLLOW student BILL WOODHOUSE, in STREAMING VIDEO, as he takes a lap around the track.  
  
BILL  
Yeah, Rudy's got this whole peace-out thing going, like we're this little microcosm of America,   
our own little melting pot. But it's a fantasy. Nothing ever really melts, it just burns.  
  
Freddie (V.O.)  
And Sara Mercer.  
  
CUT TO:  
  
int. University library - DAY  
Where we find SARA MERCER, attractive in an unassuming way, intelligent eyes looking earnestly   
at us in STREAMING VIDEO.  
  
SARA  
Actually, I'd never even heard of Michael Myers before the drawing.  
  
INTERVIEWER (O.S.)  
Really?  
  
SARA  
It's just, my scholarship runs out this year and, well, I could really use free college tuition   
and housing till graduation.  
  
INTERVIEWER (O.S.)  
No interest in uncovering the mystery of the Halloween murders?  
  
SARA  
(smiling)  
Well. Everyone likes a good mystery.  
  
HER IMAGE TRANSFORMS  
...from STREAMING VIDEO into reality as we GO TO  
  
Int. SARA'S DORM ROOM - night  
Sara is tossing some books in her backpack when we hear the familiar "You've Got Mail," and she   
goes to her desk.  
  
ANGLE ON COMPUTER  
where we see new e-mail from someone called "Deckard799."  
  
ANGLE ON SARA  
smiling as she reads the message. She types her response.  
  
SARA  
(as she types)  
This isn't fair. You know everything about me and I don't know anything about you.   
  
She is about to post, then adds:  
  
SARA  
I don't even know if "Deckard" is your real name.  
  
She clicks on "send."   
  
Female VOICE (O.S.)  
Chat room romance?  
  
ANGLE TO FIND  
  
Sara's roommate, JANE, in the open doorway. Sara turns.  
  
Sara  
Yes, that's so like me. Just meet some stud online and bingo.  
  
Jane nods to Sara's backpack brimming with books.  
  
Jane  
You're not even going to be gone a day.  
  
Sara  
You know, for the ride over.  
  
JANE  
A two hour car ride without a book  
-- wow, that would be torture.  
  
Male voice (O.S.)  
Don't do it.  
  
Angle to find  
  
ARON, a geeky guy in a Michael Myers t-shirt, standing in the doorway.  
  
Aron  
(continuing)  
Some things you just don't fuck with. Michael Myers is one of those things.  
  
JANE  
Don't you have a letter to write to Charlie Manson or something?  
  
SARA  
It's just a house, Aron.  
  
Aron  
It's the house where it all started.   
  
He comes further into the room.  
  
ARON  
(continuing)  
He walked its hallways, played in its rooms, dreamed in bed at night. He kept his mother company  
in the kitchen, watched TV in the living room with the family....  
  
  
His eyes are lit with the intensity of a zealot.  
  
ARON  
(continuing)  
Then one day he picked up a knife.   
  
JANE  
Aron, that's enough.  
  
ARON  
(ignoring her)  
And he never put it down again.   
  
And Jane shoves Aron out the door and closes it.  
  
JANE  
That guy is fucking weird.  
  
SARA  
(a beat)  
It's not as if I haven't thought about it, you know, all those people killed and here we are,   
capitalizing on it.  
  
JANE  
Yeah, I guess that's never been done before.  
  
On her look at Sara we  
  
CUT TO:  
  
Int. Cafeteria - NIGHT  
Where we are FOLLOWING Rudy Johnson while he talks on his cell phone.  
  
RUDY  
Sherilyn, baby, of course I want to spend Halloween with you, but this changes things a little   
right now.  
  
WIDER ANGLE  
as he moves over to a long table decked out for a "going away" meal. The other students are   
taking their seats.  
  
RUDY  
(continuing)  
Yeah, baby, I remember last Christmas. But you know I gotta go down and sign the papers every   
time Lester dies.  
  
JIM  
(looking up)  
Every time?  
  
Rudy takes his seat at the table, nods to the others.  
  
RUDY  
(on phone)  
I'll call you, baby....Yeah. Soon's I get back....Right. Bye.  
  
He clicks off the phone, looks around at the others.  
  
RUDY  
My kinda girlfriend.  
  
BILL  
We kinda figured.  
  
JIM  
(to Rudy)  
What do you mean "every time" Lester dies?  
  
DONNA  
Turkey looks good.  
  
SARA  
I think it's a goose.  
  
JENNA  
Aren't gooses the ones with the long necks?  
  
DONNA  
They're called geese. And swans are the ones with the long necks.  
  
But Jim slaps his hand down on the table.  
  
JIM  
(to Rudy)  
No. I wanna know. What do you mean "every time" Lester dies?  
  
RUDY  
Oh, Lester's my uncle. Great-uncle actually, he's ninety-six.  
  
Rudy breaks off a piece of goose drumstick and tastes it.  
  
RUDY  
Not bad. Hint of tarragon.  
  
JENNA  
Can you eat swans?  
  
RUDY  
Too tough. Anyway, old Uncle Lester's heart stops every so often, usually around the holidays   
-- you know, all the excitement. So they bring him to emergency, get him going again, and I'm   
the one goes down and signs him out.  
  
BILL  
Some folks just take a lot of killing, I guess.  
  
SARA  
Like Rasputin.  
  
JENNA  
Who?  
  
SARA  
Turn of the century Russian. His enemies poisoned him but he lived. So they shot him, and when  
that didn't work, they dumped him in an icy river.  
  
RUDY  
White guy?  
  
SARA  
Yeah. Then they burned the body and buried it.  
  
RUDY  
That's some cold shit.  
  
DONNA  
Look, there's something I need to say....  
  
BILL  
Say away, baby. Haven't had my dose of feminist propaganda today.  
  
DONNA  
Good one, Bill.  
(to the others)  
It's just...I don't want this thing to be, well, exploitational.  
  
BILL  
Jeez, a live-on-the-Net tour of the home of the worst serial killer in history. What could be   
exploitational about that?  
  
DONNA  
I don't want this to be seen as glorifying violence.  
  
JENNA  
I thought Ted Bundy killed the most people.  
  
RUDY  
Nah, man, Bundy is nowhere near the record. Henry Lee Lucas did like three hundred.  
  
BILL  
I heard he made a lot of those up.  
  
JIM  
You're all missing the point.  
  
The others turn to him.  
  
JIM  
Michael Myers isn't real.  
  
JENNA  
Sure he is. There's a book about him and everything.  
  
JIM  
He might have been real once, but not anymore. Michael Myers has entered the dark mythology of   
America, my friends.  
  
RUDY  
Dark mythology. I like that.  
  
JIM  
(hamming it up)  
He's become part of the horror that's been the underside of this country ever since the first   
white man murdered the first Indian and started seeing the ghosts of revenge in every shadow.  
  
RUDY  
Ghosts of revenge? You just make this shit up? Out of your head like?  
  
JIM  
(on a roll)  
He's the great white shark of our unconscious.  
  
BILL  
Go, Jimbo!  
  
JIM  
(building steam)  
He's every murderous impulse we've ever had.  
  
RUDY  
Can I get a witness!  
  
JIM  
He's the voice that whispers to us to flatten the old lady taking forever at the checkout   
counter in front of us.  
  
THE OTHERS  
(chanting)  
Go, Jimbo! Go, Jimbo!  
  
JIM  
He's that little itch at the base of our brains where reptiles once ruled. He's all of us, my   
friends, each and every one.  
  
They give him a sarcastic round of applause and he turns to  
  
THE DIGITAL CAMERA  
a few yards away, with a small crew documenting the occasion for the Net. Jim stands, smiles at  
us and bows dramatically.  
  
JIM (STREAMING VIDEO)  
(playing to camera)  
Thank you, you're beautiful. Great crowd, great crowd.  
  
CUT TO:  
  
A computer screen on which we are watching the same image.  
  
BOY'S VOICE (O.S.)  
This is boring.  
  
BOY'S VOICE #2 (O.S.)  
Boring is as boring thinks.  
  
INt. myles's bedroom - night  
This is the room of an adolescent with a high-tech mindset. Instead of sports paraphernalia and  
posters of rock heroes, every available inch of space is taken up by computer parts of varying   
age and condition, software on floppies and CDs, manuals on computer language and code. MYLES   
BERMAN is sitting in front of the computer screen, on which we watch Sara's interview.  
  
His friend SCOTT stands watching over his shoulder, bored.  
  
SCOTT  
It's just media hype.  
  
MYLES  
Like you don't think she's hot.  
  
ANGLE ON   
the COMPUTER SCREEN, as the camera finds the quiet Sara.  
  
BACK TO SCENE  
  
as Scott looks at her, unimpressed.  
  
SCOTT  
She's like what, twenty?  
  
MYLES  
Nevertheless.  
  
SCOTT  
Can you get some porno up on that thing?  
  
MYLES  
Forget it.  
  
SCOTT  
Then let's go to the mall.  
  
Myles looks up from the computer for the first time, blinks.  
  
SCOTT  
You know, food, movies, real girls. It would involve leaving the room.  
  
MYLES  
I promised my mom I'd study.  
  
SCOTT  
"Prognosis Negative" just opened at the Multiplex.  
  
MYLES  
Isn't that an "R"?  
  
SCOTT  
Like they check ID over there.  
  
MYLES  
Let me sign off.  
  
But when Scott turns away Myles hits his e-mail "send" and we  
  
CUT TO:  
  
Ext. A country road - night  
We are looking THROUGH the support beams of a wooden SCAFFOLDING, down a long straight stretch   
of road with highway lights creating pockets of light, pools of darkness. We hear VOICES and   
find   
  
A PICKUP TRUCK  
at the side of the road. Two men JERRY and KENNY, put the finishing touches on a billboard   
supported by the scaffolding.  
  
JERRY  
Throw that in the back, will you?  
  
Kenny puts a large, claw-toothed hammer into the flatbed.  
  
THROUGH THE SUPPORTS  
a figure appears in the distance, at first just a vague shimmering...but moving steadily toward   
us, vanishing in every patch of darkness, reappearing under each new light.  
  
THE TWO MEN  
gather the rest of their tools, put them into the flatbed.  
  
INT. truck - CONTINUOUS  
The men climb into the cab.  
  
Ext. ROAD - night  
The dark-clad figure suddenly STOPS. He is looking up.  
  
HIS POV  
on the BILLBOARD, which we now finally see from the front -- a giant white Michael Myers mask   
stares down at us under copy that announces: "Secrets of the Myers House Revealed. Tomorrow   
Night. Live."  
  
ANGLE ON FIGURE  
staring up at the sign for a long time, seemingly frozen.  
  
INT. TRUCK -night  
The driver reaches for the ignition, hesitates. He is looking up at something.  
  
POV IN REARVIEW MIRROR  
where we see the figure standing there, in white mask, at the back of the flatbed.  
  
KENNY  
What the -- ?  
  
JERRY  
What is it?  
  
The first man turns around quickly.  
  
POV THROUGH REAR WINDOW  
...but the figure has vanished.   
  
ANGLE IN CAB  
as Kenny turns back to the wheel.  
  
KENNY  
It's nothing. Just...nothing.  
  
JERRY  
The ignition switch is that one right there on the steering column.  
  
KENNY  
What, like you got a date or something.  
  
JERRY  
Well, not with an actual person.  
  
A SHADOW crosses their faces and they both look up   
  
THROUGH THE WINDSHIELD  
as SUDDENLY the SHAPE appears out of nowhere -- and SMASHES DOWNWARD with the huge hammer --   
CRASHING THROUGH the windshield straight for Kenny's skull as we  
  
CUT TO:  
  
Ext. HADDONFIELD - MORNING  
OCTOBER 31st. HALLOWEEN.   
  
We MOVE SLOWLY down a tree-lined street to FIND  
  
Ext. MyerS HOUSE - CONTINUOUS  
The place is long ago boarded up and fallen into disrepair. Graffiti is scratched across the   
façade, left there no doubt by the heartiest of local teenagers willing to take a dare.  
  
The front door is OPEN. We hear VOICES coming from inside.  
  
WE KEEP MOVING  
...slowly up the walkway toward the front door.  
  
INt. myers HOUSE - MORNING  
We MOVE among the old dusty furniture as through a museum.  
  
Freddie (O.S.)  
No, I think you got to go a little lower with that one over there....  
  
MOVE UP THE STAIRS  
where the voices grow louder.  
  
MALE VOICE (O.S.)  
This is what I do for a living, okay?  
  
Freddie (O.S.)  
That's why I hired you, isn't it?  
(a beat)  
No, baby, I wasn't talking to you.  
  
ANGLE TO FIND  
Freddie in the upstairs HALLWAY, on the cell phone while directing a thirtyish guy, Brian, how   
to set up a small digi-cam. CHARLEY, a middle-aged electrician, is running cable in the   
background.  
  
Freddie  
(on phone)  
What? Yeah, baby, just tell them to be cool, a loan means they get their money back, right?   
They can look that up in the dictionary.  
(to Brian)  
You get the master bedroom?  
  
Brian  
Between the stationary cameras and the minis they'll be wearing, you should be covered.  
  
Freddie  
(on phone)  
I got my own problems, here, baby, I'm dealing with Orson fucking Welles Junior here.  
(to Brian)  
Look, Brian, we're not remaking "Barton Fink" here. I'm on a schedule.  
  
Brian turns to him.  
  
Brian  
High angles are scary, low angles are scary, medium angles are boring.  
  
Freddie  
You learned about scaring people shooting weddings and Bar Mitzvahs?  
  
Brian  
Hey, I graduated Long Beach Film School. Same as Spielberg.  
  
Freddie  
(frustrated)  
Fine. You know...fine.  
(on phone)  
I'll call you later, baby, I gotta get back to town.  
  
He flips the phone closed, looks back over at Brian.  
  
Freddie  
Just make sure it gets done by this afternoon.  
  
He passes Brian in the hallway, heading for the stairs.  
  
Brian  
By the way....  
  
Freddie turns back to him.  
  
Brian  
Welles was overrated.  
  
Freddie just shakes his head and continues down the stairs. FOLLOW HIM out the front door,   
mumbling to himself.  
  
Freddie  
Welles was overrated. Shit. Man was a motherfucking genius.  
  
THE IMAGE TRANSFORMS  
into VIDEO as we look THROUGH A WINDOW as Freddie gets in his car. As the car PULLS OUT...we   
get just a hint of another vehicle passing.  
  
WIDER TO INCLUDE  
Brian looking through the video camera for a test. He turns it off, sets it down, looks   
directly out the window.  
  
HIS POV  
...as we see just the tail end of a pickup truck disappearing under a red-leafed autumn tree.  
  
ANGLE ON BRIAN  
as he turns back into the house, looks around for a place to position the next camera.  
  
CUT TO:  
  
Int sanitarium - DAY  
Police and state mental health OFFICIALS move about gathering information and evidence.   
Two DETECTIVES are interviewing the hapless Franklin Munroe.  
  
Detective  
But you're saying all the other patients are accounted for.  
  
FRANKLIN  
Like I told you, there was someone else in the building. How he got out I don't know.  
  
ANGLE TO FIND  
a quiet, serious, dark-suited man watching from a few yards away: JEB DONASLDSON steps over,   
flashes his wallet I.D.  
  
Donaldson  
Jeb Donaldson, State Police.  
  
Detective  
I'm just about finished with this man.  
  
DonaldSON  
Take your time. I'm just a fly on the wall.  
  
FRANKLIN  
(to first cop)  
Look, man, all I know is what I saw.  
  
DETECTIVE  
And this other patient...  
(checking his notes)  
...Harold Trumble. You're certain he was in his room.  
  
Franklin  
I saw him on the monitor and when I checked his room he was in it.  
  
DonaLDSON  
Your monitors cover the entire grounds?  
  
FRANKLIN  
Yeah, man, but there are some, like, blind stops. Around corners, the stairwells, that kind of   
thing.  
  
Donaldson nods, moves over to  
  
THE SECURITY DESK  
where other officers are going over last night's tapes.  
  
THE SECURITY MONITORS  
show the various VIEWS from around the facility recorded last night: we see the babbling Harold  
on one, the dark-clad figure approaching Laurie's door on another.  
  
ANGLE ON  
Donaldson as he watches curiously for a moment until a hospital administrator, HORACE JORDAN,   
comes up alongside.  
  
Jordan  
You Donaldson from State Police?  
  
Donaldson looks up and smiles pleasantly at the man.  
  
CUT TO:  
Int. Sanitarium - daY  
The two men walk down a hallway on another floor.  
JORDAN  
He's actually quite harmless, despite his fascination.  
  
DonaLDSON  
Well, you never know what he might've seen. Always best to --  
  
He's cut off by the RING of a cell phone. He takes it out of his coat pocket, squints at the   
number, shrugs at Jordan.  
  
DonaLDSON  
Duty calls.  
(on cell phone)  
Yes, honey....No, I haven't forgotten....I'll pick them up on the way home....Yes, I've got it..  
..Two quarts....Right. Love you. Bye.  
  
He hangs up the phone, Jordan looks at him.  
  
JORDAN  
Yeah, I'm married too.  
  
They reach one of the doors and Jordan OPENS it.  
  
Int. Harold's room - CONTINUOUS  
Harold looks up at them -- wearing a Laurie Strode novelty mask.  
  
Harold  
Laurie Strode, sister of mass murderer Michael Myers....  
  
The two men stop in the doorway, look at him, at each other.  
  
Cut TO:  
Int. Sara's rOOM - afternoon  
Sara is at her computer reading her e-mail as Jane comes in.  
  
JANE  
Shouldn't you be getting ready?  
  
SARA  
I'm ready  
.  
Jane looks at her disapprovingly.  
  
JANE  
You're wearing that?   
  
Sara  
I thought I was.  
  
JANE  
I mean, you're going to be all over the Internet and everything. I better find you something.  
  
She goes to the closet, rummages through her clothes.  
  
JANE  
So, you don't think it's kind of, well, creepy, going in that house?  
  
SARA  
(a few beats)  
When I was a little girl there was this streetlamp outside my window. And when the curtain blew  
in just the right way, it cast a shadow on my wall that looked like -- this is going to sound   
silly.  
  
Jane stops rummaging, turns to Sara.  
  
JANE  
No, what?  
  
SARA  
Well, it looked like a giant rabbit.  
  
Jane  
(laughing)  
A rabbit?  
  
SARA  
Go figure. I was scared of rabbits. It's something about the ears.  
  
Jane  
Yes! I can see that.  
  
SARA  
Anyway, I'd lie there, unable to move, wanting to shut my eyes but afraid to. I didn't want to   
call to my parents because I knew that it wasn't real, that it was just a shadow on the wall. I  
didn't want them to think I was weak.  
  
JANE  
You knew it was a shadow but you were still scared?  
  
SARA  
That's the thing about fear. It doesn't matter if it's a killer rabbit or just a shadow.  
  
JANE  
I guess not.  
  
Jane finds a sexy sweater, steps over to Sara, looks over her shoulder at the computer screen   
open to her e-mail reader.  
  
JANE  
Same guy?  
  
SARA  
Yeah. He's in graduate school.  
  
JANE  
I'll bet. Probably some fifty-year-old lard-ass with a bad comb-over.  
  
Jane drapes the sweater over Sara's shoulders and steps back.  
  
JANE  
Perfect!  
  
CUT TO:  
Int. MYLES'S ROOM - AfTERNOON  
Myles sits at his computer, distracted.  
  
SCOTT (O.S.)  
So the good news is....  
  
ANGLE TO FIND  
Scott standing at the open door of the room. Myles looks over at him.  
  
MYLES  
Make some noise or something when you come in.  
  
SCOTT  
I told your mom we were studying. You want to hear the news or not?  
  
MYLES  
Sure.  
  
ScOTT  
I scored us an invite to Jennifer's Halloween Net party tonight. You'll get to see your   
girlfriend hi-def widescreen.  
  
MYLES  
Yeah, great.  
  
SCOTT  
Well, thanks for the enthusiasm.  
  
MYLES  
Man, I really screwed up.  
  
SCOTT  
Well, I could've told you that.  
  
MYLES  
No, this is serious.  
  
Scott comes farther into the room, looks at his friend.  
  
MYLES  
(continuing)  
There's this...person I know and somehow she kinda got the idea I'm...older than I am.  
  
SCOTT  
She? There's a "she" in your life?  
  
Myles looks over at the computer, back at Scott.  
  
SCOTT  
(realizing)  
No!  
  
Myles steps over to the computer, calls up his e-mail reader.  
  
MYLES  
Check it out.  
  
Scott reads one of Sara's messages, his eyes widening.  
  
SCOTT  
Holy shit. This is the chick in the Halloween thing.  
  
MYLES  
We met in a chat room.  
  
Scott turns and stares at his friend.  
  
SCOTT  
You are God, man.  
  
MYLES  
She was asking for tech support to set up her off-line reader and...  
oh, what difference does it make.  
  
SCOTT  
This is so cool!  
  
MYLES  
Are you out of your mind? She thinks I'm in graduate school. I told her I'm twenty-four.  
  
SCOTT  
You actually convinced a college chick you're in her league? I'd say that's cool.  
  
MYLES  
She thinks I'm a physics major.  
  
SCOTT  
Your first mistake. You should've said business. Women really go for that kind of guy. Too   
bad you're not that kind of guy.  
  
MYLES  
Like we're ever going to meet.  
  
SCOTT  
Then what's the point?  
  
MYLES  
Did you know that in the Middle Ages sometimes a knight would spend his entire life courting a   
woman in poems and sonnets? They'd never even touch.  
  
SCOTT  
You need help, man.  
  
MYLES  
Leave me alone.  
  
SCOTT  
No, really. I'm worried about you. They don't have you on Ritalin or anything, do they?  
  
CUT TO:  
  
Int. Donaldson's office - afternoon   
Donaldson is sitting in his very low-tech space. If it weren't for the voices and occasional   
static-laced dispatch sounds in the BACKGROUND, we wouldn't know he's carved this dark space of   
an office out of State Police headquarters. The only anomaly among the ancient filing cabinets   
and stacks of paperwork is the computer sitting on his cluttered desk. He looks at it as if it   
were an alien presence. He looks down at a pad on his desk.  
  
INSERT PAD  
covered with his notes from the sanitarium. We see the name underlined: LAURIE STRODE.  
  
ANGLE ON DONALDSON  
as he stands up, stretches, moves to the window.  
  
POV THROUGH WINDOW  
as Halloween begins to take shape. We see costumed kids, some of them wearing cheap Michael   
Myers masks, moving in small clusters, older ones on the edge of rowdiness, little ones   
shepherded by watchful parents.  
  
ANGLE ON DONALDSON  
as he turns around -- and SUDDENLY a face appears behind him, horrible and ghoulish -- and he   
jumps back, startled.  
  
ANGLE ON   
the "ghoul" as it removes what proves to be a Halloween mask, revealing a young desk-duty   
officer, NORA MANN.   
  
DONALDSON  
Jesus, Nora.  
  
Nora  
Oh, did I startle you?  
  
DonalDSON  
At what point in your training did they tell you a sense of humor was important?  
  
NORA  
Hmm. I don't seem to recall.  
  
DonalDSON  
And the purpose of this visit? Other than to jump-start my heart.  
  
NoRA  
Haddonfield P.D.'s faxing us what you asked for on Laurie Strode. There's a shitload of it.   
On the other hand, you could save a forest by entering the electronic age.  
  
She looks over at the computer on his desk, back at him.  
  
NoRA  
She ain't hard to find.  
  
DonalDSON  
Isn't there someone out there with a heart condition you can try that mask on?  
  
NoRA  
I'll see what I can do.  
  
She turns and leaves the room.  
  
ANGLE ON DONALDSON  
as he looks back at the computer. He sighs, then finally sits back down at his desk, moves the   
mouse and clicks. We hear the annoying connection noise as the Internet comes up. He types   
something on the keyboard.  
  
THE COMPUTER SCREEN  
is on a search engine as he types in "LAURIE STRODE" and clicks the mouse again. About a   
hundred references pop up.  
  
ANGLE ON DONALDSON  
as he looks at the computer screen curiously. He moves the mouse, we hear the clicks, watch   
different colors play across his face as different sites come up. Until:  
  
ON THE COMPUTER SCREEN  
we see a web site slowly come up, rendering shape from blotches of color...turning into the   
Michael Myers HOME PAGE.   
  
ANGLE ON DONALDSON  
as the investigator looks curiously at the computer screen a moment. He drums his fingers   
restlessly on his desk. Looks at his notes. At the computer screen. Back at his notes.   
Then he stands, grabs his coat, and heads for the door....  
  
CUT TO:  
  
Ext. myers house - AFTERNOON  
We find Brian at the equipment truck parked at the curb, getting another mini-DV camera out of   
the back, while on his cell phone.  
  
Brian  
Yeah, I've just got one placement left and we're ready to roll.  
  
FOLLOW HIM up the walkway toward the house with the camera.  
  
Brian  
(continuing)  
We'll be up and running in no time.  
  
As he heads up the steps of the porch we  
  
ANGLE TO FIND  
...the old pickup truck partially hidden by the fall trees.  
  
Int. MYERS HOUSE - aFTERNOON  
Brian carries the camera up the stairs and down a hall toward a narrow cabinet. He stops,   
hears something from downstairs.  
  
HIS POV   
down the stairs...there's nothing there.  
  
FOLLOW HIM  
as he turns away, moves down the hallway to the cabinet. He yanks it open -- and something   
FLIES out at him out of the darkness. He jumps back startled, then looks down at the stuffed   
animal lying at his feet: a child's ancient pink Easter bunny. He straightens and turns back   
to the cabinet. Then he hears another sound, coming from behind him.  
  
ANGLE DOWN HALLWAY  
as he sets down the camera. He starts moving down the hall. Now it's quiet again. He peers   
into the doorway of a bedroom, but there's nothing there. He turns back into the hall -- when   
SUDDENLY a shape comes up at him from behind a door, featureless white mask staring at him --  
Brian jumps back in fright -- but the figure simply pulls the cheap novelty mask down from his   
face...revealing Charley, the jumpsuited technician, grinning at him.  
  
Brian  
Jesus shit, man!  
  
Charley  
Hey, it's Halloween, get into the spirit.  
  
Brian  
I'm here to do a fucking job, okay?  
  
CHARLEY  
Sorry, it was just a joke. Don't go Oliver Stone on me.  
  
Brian  
Look, just check out the control room and make sure we're going online tonight, okay?  
  
CHARLEY  
You got it.  
  
Charley turns away and heads down the stairs and we  
  
FOLLOW BRIAN  
back to the cabinet. He lifts the camera and positions it. Then he hears something behind him.  
This time he just ignores it, sighing. He reaches around behind the camera and  
  
THROUGH THE CAMERA  
the VIDEO IMAGE comes ON -- as we see the SHAPE coming up behind Brian and we  
  
CUT TO:  
  
Int. GARAGE/CONTROL ROOM - same time  
Which as been turned into a CONTROL ROOM of sorts. Charley takes up position at a MIXING PANEL   
with an array of dials, levers, and switchers, controlling a bank of MONITORS. It's somewhat   
jury-rigged, with a tangle of wires and electrical cables feeding the system.  
  
Charley sets a giant cup of Starbuck's Mochaccino at the edge. He flips a switch on the console  
and several MONITORS light up. He reaches to take a sip of his coffee, never noticing that on   
one of the monitors Michael Myers is PULLING Brian out of view.  
  
By the time Charley looks up, the monitor shows nothing.  
  
CUT TO:  
  
Ext. Campus - late afternoon  
The students have assembled in the PARKING LOT, a small group of other college kids there to see  
them off. One young guy has a VIDEO CAMERA to memorialize the occasion.  
  
Student  
(to Bill)  
So, tell us, tough guy, what are you going to do if Michael Myers decides to come home tonight?  
  
Bill  
Hide behind one of the women?  
  
Rudy  
At least he's honest.  
  
Jenna  
(looking at her watch)  
Why are men always late?  
  
JIM  
Just giving you time to touch up your makeup.  
  
Jenna sighs, looks back at her watch.  
  
CUT TO:  
  
Int. Van - AFTERNOON  
Looking THROUGH THE WINDSHIELD as the van turns into the university driveway, Freddie behind the  
wheel.   
  
Ext. campus - AFTERNOON  
The van PULLS UP and the doors open as Freddie turns to them.  
  
Freddie  
You folks need a ride?  
  
Int. van - AFTERNOON  
They all climb on board and take their seats.   
  
Freddie  
Buckle yourselves in, kids, I'm not known for my driving.  
  
ANGLE ON SARA  
settling into her seat near the back, as Freddie starts PULLING OUT of the parking lot.  
  
HER POV  
OUT THE WINDOW...as we see Aron, amid the small cluster of other students, watching somberly as  
the van pulls away.  
  
Freddie (O.S.)  
The house has been rigged with cameras.   
  
ANGLE IN VAN  
as Freddie continues his spiel.  
  
Freddie  
(continuing)  
So keep your fingers out of your noses, kids, don't be doing anything you don't want the viewing  
public to see.  
  
Jim gives Donna a nudge.  
  
JIM  
You like an audience, don't you?  
  
DONNA  
Have I forgotten to ignore you today?  
  
JIM  
No, I think you remembered.  
  
DONNA  
Good. Just checking.  
  
Freddie  
And leave your cell phones in the van, I don't want them going off and blowing the atmospherics.  
  
Jenna  
No cell phones?  
  
BILL  
Yeah, imagine that. Kind of what it was like in Grandpa's day.  
  
The students settle into their seats for the long ride.   
  
ANGLE ON VAN  
as it zips past us down the long straight road.  
  
CUT TO:  
  
Int. Donaldson's car - late afternoon  
We find the state cop intent behind the wheel. His cell phone RINGS. He looks at the number,   
sighs, answers it.  
  
DonaLDSON  
Yes, honey....I left you a message....No, I'll be back late tonight....What?...Well, I imagine   
I can pick it up at the market, they're open twenty-four hours, aren't they?...Yes. I will....  
Only one quart?...Yes, got it....Love you too. Bye.  
  
He flips the phone closed and we GO TO an  
  
ANGLE ON CAR  
as it PASSES us and   
  
WE FIND  
the road sign indicating: "HADDONFIELD, 93 MILES."  
  
CUT TO:  
  
Int. VAN - dusk  
The six students are looking out the windows as they turn down a tree-lined street and come to a  
STOP in front of:  
  
Ext. MyerS HOUSE - NIGHT  
Dark and quiet in the early NIGHT. Charley waits on the front lawn, with a camera to catch the  
arrival.  
  
Int. Myers HOUSE - night  
We move slowly over to an upstairs window. We see the curtains being pulled slightly apart.  
  
THROUGH MICHAEL'S EYES  
we watch out the window as the van doors open and Freddie and the kids climb out....  
  
CUT TO:  
  
Ext. MyerS HOUSE - night  
Charley comes over carrying a large plastic box.  
  
Freddie  
Where's Brian?  
  
CHARLEY  
Finished up and took off. I haven't seen him since this afternoon.  
  
Freddie  
Shit.  
  
CHARLEY  
Don't need him. Once we're up the system pretty much runs itself.  
  
Freddie  
Gear 'em up and let's get rolling.  
  
Charley hands each of them a large, police-style flashlight, then pulls out what looks like a   
baseball-style cap, puts it on his head. He turns to the students.  
  
CHARLEY  
This is a hat-cam. Whatever you see, we'll see. I've also got some mini clip-on cameras.  
  
THROUGH THE HAT-CAM  
we see the students looking back at us.  
  
Ext. MyeRS HOUSE - CONTINUOUS  
Charley hands out hat-cams and several species of clip-on mini-cameras, then jogs to the garage.  
We notice the large portable generator parked outside.  
  
Freddie checks his watch.  
  
Freddie  
All right, guys, two minutes.  
  
Jenna checks her hair in the van side mirror.  
  
JIM  
Lighten up, Jenna, it's streaming video, not cinemascope.  
  
Freddie gets on a walkie-talkie.  
  
Freddie  
You getting set up back there, Charley?  
  
CUT TO:  
  
Int. garage/control room - followinG  
Charley takes up position at a CONTROL CONSOLE, takes a sip of his everpresent Mochaccino, and   
picks up his walkie.  
  
CHARLEY  
Coming on line....  
  
And he flips a few switches and  
  
THE MONITORS  
light up with various views from around the house. From the kids' MINI-CAMs we see Freddie at   
the front of the house.  
  
CUT TO:  
  
Int. party HOUSE - night  
High school kids are arriving for tonight's Internet Halloween party, Myles and Scott included.  
  
ON THE PLASMA SCREEN  
across the room we see Freddie talking TO CAMERA:  
  
Freddie (STREAMING VIDEO)  
We're here in front of the Myers house in Haddonfield. I'm about to go to the control room.  
(to the students)  
Sixty seconds....  
  
SUDDENLY we go INTO the PLASMA SCREEN and POP OUT at  
  
Ext. MyerS HOUSE - niGHT  
as Freddie heads around back and into:  
  
Int. garage/CONTROL ROOM - followinG  
Freddie positions himself at the console beside Charley.  
  
Freddie  
(continuing)  
From here we'll be watching the team members as they enter and move about the Myers house.   
(to Charley)  
We ready?  
  
CHARLEY  
Everything's a go.  
  
Freddie scowls at Charley's giant cup of Mochaccino.  
  
FREDDIE  
You know how much caffeine they got in one of those?  
  
CHARLEY  
Let me guess. A lot?  
  
Freddie  
That shit'll kill you.  
  
ChaRLEY  
Well, that's all just a matter of timing, isn't it?  
  
ON THE MONITORS  
we watch as the students approach the door of the old house.  
  
INt. MyeRS HOUSE - fOLLOWING  
The door creaks OPEN and they enter.  
  
CUT TO:  
Int. party housE - nIGHT  
We see a GRID of views from around the Myers house play across the PLASMA SCREEN before the   
audience of high school kids. One of the boys works a mouse across the grid to maximize one   
view or another.  
  
CUT TO:  
  
Int. MyeRS HOUSE - NIGHT  
The students poke about with FLASHLIGHTS: the furniture all appears to be in place, covered   
with years worth of dust. It's as if the occupants quickly fled a disaster.  
  
BILL  
Let's keep an eye on each other, this place is old, might have rotting timbers.  
  
RUDY  
Did you think I was planning on wandering around here by myself?  
  
Donna  
Looks like nothing's been moved in years.  
  
SARA  
After the murders the family just sealed the place off and left everything.   
  
JIM  
Don't suppose they would've had much luck finding buyers anyway.  
  
Int. KITCHEN - NIGHT  
The five students enter, their flashlight beams casting about the old fixtures.  
  
RUDY  
I love these old stoves. Call me crazy, but I just don't think electric burners allow flavors   
to meld the same way.  
  
Donna  
Not a big fan of the microwave, I take it.  
  
He looks at her with disdain.  
  
Bill  
And it's so quick.  
  
Rudy goes over to examine an old spice rack, pulls a jar out.  
  
RUDY  
Wow, wonder what twenty-year-old fennel tastes like.  
  
Jim  
What are we going to find in the kitchen? Unless you think his diet turned him into a killer.  
  
Jenna  
Wasn't there that serial killer who ate all those Devil Dogs?  
  
DONNA  
That was Twinkies.   
  
Sara  
And he wasn't a serial killer.  
  
BILL  
Check this out....  
  
ANGLE ON   
Bill, over by the kitchen counter. He is looking at an old knife rack. Slowly he pulls a large  
blade out of its slot.  
  
Rudy  
You don't suppose that's the one he used to....  
  
JIM  
No way, cops would've kept that in an evidence locker somewhere.  
  
Jenna  
Still, it's pretty creepy.  
  
RUDY  
Fuck yeah.  
  
JIM  
Duly noted.  
  
CUT TO:  
  
THE SAME IMAGE  
viewed through Rudy's HAT-CAM VIEW, seen on a MONITOR.  
  
int. garage/control room - NIGHT  
The two men at the CONTROL PANEL, watching the same image.   
  
POV FROM BACK DOOR WINDOW  
where someone is watching them too....  
  
ANGLE ON FREDDIE  
as he turns around, if sensing something. He looks through the back door window -- but now it   
is empty.   
  
He turns back to the monitors.  
  
CUT TO:  
  
int. hoUSE - NIGHT  
The students moving back through the living room.  
  
BILL  
(to Jim and Donna)  
Why don't you check out the basement? We'll look upstairs.  
  
CUT TO:  
  
Int. Donaldson's cAR - NIGHT  
The police detective turns the wheel toward an exit.  
  
ANGLE ON CAR  
as it whizzes onto the exit ramp marked for "HADDONFIELD."  
  
CUT TO:  
  
Int. Myers basement - NIGHT  
Jim and Donna walk down rickety stairs, their FLASHLIGHT BEAMS cutting across piles of old   
furniture, firewood, cartons, beams and shadows crisscrossed by naked pipes.  
  
Donna  
So, why do you think he did it?  
  
JIM  
Population control.  
  
They wander about in the semi-dark.  
  
Donna  
I have a theory.  
  
JIM  
Let me guess. TV violence.  
  
He moves over to an ancient console television, sits on it.  
  
JIM  
(continuing)  
I mean, they didn't have video games back then, so it must have been Saturday morning cartoons   
that turned him into a killer.  
  
Donna  
I think he just liked it.  
  
Jim moves over to her, looks at her face in the half-light.  
  
JIM  
What, no abuse excuse? No Freud? Don't tell me that beneath that icy surface you actually   
believe in free will. Makes me want to see what other doors of mystery you might open to the   
man with the right key.  
  
Donna  
Does that half-ass Jim Morrison shit work with the chicks in the poetry department?  
  
JIM  
It's been known to.  
  
Donna  
Yeah? Well, it doesn't cut it with critical studies.  
  
CUT TO:  
  
Int. Upstairs - nIGHT  
Bill, Rudy, Jenna, and Sara enter what looks like the MASTER BEDROOM. Jenna flops onto the bed,  
creating a cloud of dust that makes them cough.  
  
Bill  
Good one, Jenna.  
  
JENNA  
Do you suppose this is where he was, you know, conceived?  
  
RUDY  
Man, I don't even have an opinion.  
  
Sara opens the door of a walk-in closet, pushes away a mass of cobwebs, steps inside.  
  
Bill  
What are you looking for?  
  
RUDY  
Maybe she'll find a man-size dress in there.  
  
Jenna looks at him blankly.  
  
RUDY  
You know, like Papa was Norman Bates or some shit.  
  
JENNA  
Who's Norman Bates?  
  
  
He just looks at her and sighs.  
  
BILL  
(to Sara)  
You finding anything in there?  
  
ANGLE IN CLOSET  
as Sara pushes aside some hanging clothes -- and a WHITE FACE peers back at her from the   
darkness --  
  
Sara SCREAMS and falls back against the door, pushing it shut behind her and leaving her in the   
dark as her flashlight tumbles to the floor.  
  
ANGLE IN BEDROOM  
as Bill and Rudy run over but the door is jammed tight.  
  
RUDY  
Sara! You okay?  
  
Bill   
Sara!  
  
INSIDE THE CLOSET  
Sara finds her flashlight just as the door OPENS and --  
  
A TAILOR'S MANNEQUIN in a cheap wig tumbles free from behind the clothes, falling harmlessly to   
the floor.  
  
ANGLE ON   
Sara, Rudy, and Bill, staring down at the thing.   
  
SARA  
Oh, Jesus, I can't believe that scared me.  
  
Rudy  
It's okay, it's cool. Y'all don't mind if I sit down right now.  
  
He steps back, sits down on the bed -- then realizes where he is and jumps back up.  
  
RUDY  
Actually, I think I'll stand.  
  
They all start laughing at the ridiculousness of it.  
  
Then Sara looks around.  
  
SARA  
Where's Jenna?  
And SUDDENLY we are SUCKED out of the scene and POP OUT:  
  
Int. GARAGE/CONTROL ROOM - nIGHT  
Freddie and Charley watching on the monitors.  
  
CHARLEY  
Mind if I grab a smoke?  
  
Freddie  
As long as it's not near me.  
  
Charley gets up, heads for the back door.  
  
Freddie  
I hear that shit's bad for you. It was in all the papers.  
  
CharLEY  
You planning on living forever?  
  
Charley steps outside, Freddie looks at the monitors.  
  
Freddie  
(to himself)  
I'm thinking about it.  
  
Freddie looks over at Charley's giant cup of Mochaccino. He picks it up, sniffs it and   
grimaces, sets it back down.  
  
Int. House - night  
Where we find Rudy wandering down an upstairs HALLWAY.  
  
RUDY  
Jenna, where'd you go?  
  
At the end of the hall he looks up, stops a rope hanging down from the trap door leading to the   
attic.  
  
He reaches up, pulls on the rope, but it's stuck. He keeps tugging at it, then hears something from behind him.  
He turns, looks back.  
  
HIS POV  
down the dark hallway. Only shadows.  
  
ANGLE ON RUDY  
as he turns away from the attic door, starts down the hall.  
  
RUDY  
Jenna...?  
  
CUT TO:  
  
Ext. BaCKYARD - FOLLOWING  
Charley steps out into the night. Reaches to his shirt pocket for his cigarettes. We hear the   
CRACK of a branch. He looks over into the narrow alley between the garage and house. He starts  
to turn away, then hears another sound.  
  
FOLLOW HIM  
as he walks into the shadowy space.  
  
BEHIND THEM  
we see a large shape come up in the darkness.  
  
ANGLE ON CHARLEY  
as he continues down the alley another few feet then turns around -- and the shape is standing   
there BLOCKING his way. Charley is only momentarily startled, but not surprised.  
  
CHARLEY  
What the hell are you doing out here? I thought you were supposed to --   
  
But he is cut off in mid-thought. His mouth opens but nothing comes out. He looks down at his   
stomach -- and sees the gardener's trowel imbedded in there, Michael Myers's hand wrapped around  
the handle. On Charley's bewildered look we  
  
CUT TO:  
  
Int. Basement - night   
Jim playfully swings around in front of Donna, blocking her.  
  
JIM  
Come on, when are you going to admit you like me?  
  
Donna  
That's a double bind question. Kind of like, "Have you stopped beating your dog?"  
  
But suddenly she grabs his shirt and pulls him to her.  
  
Donna  
(seductively)  
So tell me -- have you stopped beating your dog?  
  
TIGHTER ON THEM  
as Jim is taken aback when she kisses him passionately. And in an instant they are all over   
each other, kissing, groping, until Donna pushes him gently away.   
  
Donna  
You suppose they've got cameras down here?  
  
He points to the lapel cam she's wearing.  
  
JIM  
Afraid of losing your standing in the sisterhood?  
  
Donna  
Don't flatter yourself. Screwing a poetry major would practically be lesbianism.  
  
JIM  
I can get behind that.  
  
He folds her sweater back to BLOCK the lapel cam, then kisses her again and they fall back   
against an old door -- and SUDDENLY the ancient wood of the door GIVES WAY and they TUMBLE   
through it and land on the dusty floor inside.  
  
Int. Basement room - CONTINUOUS  
Their flashlights roll free casting crazy shifting light --  
  
HITTING FACES  
all around them, wild feral animal faces with gaping jaws.  
  
ANGLE ON  
Jim and Donna as they regroup, find their flashlights, get back to their feet. Now we see that   
all around them is a macabre collection of skinned and stuffed animals: a huge German Shepherd,  
several cats, exotic birds, part of what we may only conclude to be a bizarre family pet   
collection.  
  
JIM  
This was one weird family.  
  
Donna  
You should meet my cousins.  
  
CUT TO:  
  
THE SAME IMAGES  
on the giant PLASMA SCREEN.  
  
Int. PartY - NIGHT  
The Internet party guests watch the action.  
  
STAN  
Cool!  
  
CUT TO:  
  
Int. GARAGE/CONTROL ROOM - night  
Freddie watching on the MONITOR. He smiles.  
  
CUT TO:  
  
Int. UPSTAIRS - NIGHT  
Sara and Bill enter what looks like the room of a small boy. Apart from decades of dust, it   
seems preserved in a pristine state, as if it were some kind of shrine. Stuffed animals gaze   
back at us from the bed, Lionel train tracks circumnavigate the room, a baseball and mitt sit   
perched on the dresser.  
  
SARA  
This must've been his room.  
  
Bill  
Looks like any kid's room.  
  
SARA  
Everything seems frozen in time.  
  
BILL  
His parents probably never came in here after the murders.  
  
SARA  
Look at this.  
  
ANGLE ON   
an old trunk at the foot of the small bed. Sara kneels beside it, tries to get it open.   
  
SARA  
It's stuck.  
  
ANGLE ON   
Bill, going through the drawers of a child-size dresser.  
  
SARA  
What are you looking for?  
  
BILL  
See if he had a baseball card collection. You know how much those things would be worth?  
  
ANGLE ON  
Sara as she finally gets the ancient trunk lid open -- and a small head POPS out and she falls   
back onto her seat. The head bobs crazily on a spring and we realize it's an old   
jack-in-the-box, with eerie painted face and gazing glass eyes.  
  
Bill looks over from the dresser.  
  
BILL  
Kid had a sense of humor.  
Sara catches her breath, looks inside the trunk and finds a family photo album. She opens it.  
  
INSERT ALBUM  
where we see early sixties snapshots of a couple with a daughter and young son...then the   
addition of a baby girl...the kids growing to school age....  
  
ANGLE IN ROOM  
as Bill slams shut the last drawer, goes over to a side door. He opens it and steps into an   
adjoining room.  
  
BILL  
I'm gonna see what's in here.  
  
Sara looks back at the photo album.   
  
INSERT ALBUM  
The boy in the photos grows increasingly distant. There are shots with him off to the side,   
resentfully watching his parents cuddling his new baby sister.  
  
Go CLOSER on the PHOTO of the boy, moving INTO the deep-set haunted eyes -- are they sad,   
resentful, or utterly dead?   
  
And SUDDENLY we   
  
CUT TO:  
MICHAEL'S POV  
...as he enters his house. He looks around in the darkness, one way and another with his   
predatory gaze. He moves to:  
  
Int. Kitchen - CONTINUOUS  
Michael goes over to the cutlery rack. He pulls out a knife. The blade catches light in a   
SPARK of brilliance and we   
  
CUT TO:  
A huge BLADE  
  
SLASHING into FRAME --  
  
Int. party HOUSE - night  
As a big kid in cheap Michael Myers costume LASHES OUT with a rubber knife, striking one of   
the smaller kids, who feigns a dramatic death.  
  
CUT TO:  
  
Int. MICHAEL'S ROOM - night  
Sara is looking at the family album curiously.  
  
SARA  
Bill, come take a look at this.  
  
There's no response. She gets up and moves to the side door.  
  
POV THROUGH ROOM  
to the adjoining room. All we see is darkness.  
  
SARA  
Bill?  
  
FOLLOW HER  
as she steps into the next room -- which, by its stacks of albums, collection of dolls,   
Aerosmith posters on the walls, we take to be the habitat of a teenage girl circa 1970s.  
  
CUT TO:  
  
Int. BASEMENT storeroom - NIGHT  
Jim and Donna cast their flashlights about the basement storeroom, with its odd store of stuffed  
animals.  
  
Jim  
Maybe this was his playroom.  
  
Donna  
Yeah, I can see it now. Little Michael Myers practicing on the family pets.  
  
A tiny cascade of dry mortar tumbles loose from the wall.  
  
JIM  
Check this out.  
  
He is looking at an old brick wall sealing off a corner of the room. The bricks seem   
haphazardly set, the ancient mortar easily giving way under his fingers. He removes one brick,   
then another, and a few tumble free to the floor.  
  
Donna  
What do you think's back there?  
  
JIM  
I don't know, black magic shrine? Maybe his parents were devil worshipers?  
  
Donna  
Whose aren't?  
  
She turns to shine her flashlight on the opposing wall --  
  
And a HAND comes free from the brick wall behind her and LANDS on her shoulder. Donna SCREAMS   
and her flashlight SWINGS wildly back at the opening in the bricks --  
  
ANGLE ON A FACE  
staring back at them, lips pulled back, grimacing in death.  
  
Donna  
Oh, my God -- !  
  
WIDER ANGLE  
as SUDDENLY the rest of the bricks come tumbling loose as -- a decomposed BODY crashes through   
and lands on the floor, the handle of a huge knife sticking out of the back --  
  
Donna screams, staring at the mummified corpse with parched skin over sunken eyeholes, teeth   
bared in final terror.  
  
CUT TO:  
  
THE SAME scene  
viewed on the giant PLASMA SCREEN at the party.  
  
The kids just sit there rapt, stunned into speechlessness.  
  
CUT TO:  
Int. GARAGE/CONTROL ROOM - NIGHT  
Freddie slaps his hand down on the console in excitement.  
  
Freddie  
Yes!  
  
CUT TO:  
  
Int. basement STOREROOM - NIGHT  
Jim and Donna staring down at the macabre ancient corpse.  
  
Donna  
Jesus, this must be his first victim.  
  
But Jim is looking at something curiously.  
  
JIM  
Maybe not....  
  
Donna  
What?  
  
He reaches down to the corpse and turns it over -- and one of the arms falls off. He grabs it   
up and is on the move....  
  
CUT TO:  
  
Int. UPSTAIRS -NIGHT  
Sara walks down the HALL, flashlight in hand.  
  
SARA  
Bill, where are you?  
  
And SUDDENLY a FIGURE comes out of nowhere behind her --  
  
She SCREAMS and the figure jumps back --  
  
TWO FLASHLIGHT BEAMS SWING wildly until we see --  
  
SARA AND RUDY  
staring at each other across dueling flashlights.   
  
Sara  
Jesus, you scared me.  
  
Rudy  
I scared you? I got a feeling if I look in the mirror right now, I'm a white man.  
  
SARA  
Where's Bill?  
  
RUDY  
I thought he was with you.  
  
CUT TO:  
  
The basement STOREROOM - NIGHT  
Donna, only a few beats behind Jim, makes her way among the piles of old junk when she drops   
her flashlight. It rolls away in the dark. She kneels by an old sofa, feels under it.  
  
POV ON HER  
from someone watching behind a support pillar.  
  
ANGLE ON DONNA  
as she finds the flashlight and starts for the stairs.  
  
CUT TO:  
  
The PLASMA SCREEN  
at the kids' PARTY -- on which we see a dark figure DART OUT OF THE SHADOWS and GRAB Donna.   
There is a GLINT of steel, a quick muffled scream...and they fall out of frame.  
  
Eric  
That was so bogus.  
  
ANGLE ON MYLES  
watching the screen curiously.  
  
CUT TO:  
  
Int. GARAGE/CONTROL ROOM - NIGHT  
Freddie is momentarily turned away from the monitors.  
  
Freddie  
Charley? Where the hell you at?  
  
He shakes his head, turns back to the control panel.  
  
CUT TO:  
Int. BASEMENT - NIGHT  
...where we find Donna lying face down on the floor. One eye stares out at nothing, a pool of   
blood grows around her head.  
  
CUT TO:  
  
Int. Upstairs - NIGHT  
Sara and Rudy moving down the HALLWAY when:  
  
JeNNA (o.S.)  
Hey, you guys!  
  
ANGLE TO FIND  
Jenna at the far end of the hall, carrying something.  
  
SARA  
Jenna, where have you been?  
  
She holds up a plastic-wrapped box.  
  
JENNA  
It's an original Malibu Barbie! You know how much these things are worth?  
  
And SUDDENLY a large shape LUNGES out of a dark doorway behind her   
--   
Sara SCREAMS and Jenna turns -- just as the figure raises the huge blade in his hand and SLASHES  
it down toward her.  
  
Jenna ducks out of the way and darts down the hall as Rudy grabs Sara's hand and they run for   
the stairs.  
  
FOLLOW THEM  
running wildly down the stairs as --  
  
THE FIGURE  
pursues them in his purposeful unhurried gait.  
  
CUT TO:  
  
THE PLASMA SCREEN  
where we watch the same scene.  
  
Int. party HOUSE - NIGHT  
The kids cheer along with the action.  
  
CUT TO:  
  
Int. CONTROL ROOM - NIGHT  
Freddie is watching the MONITORS when there is a KNOCK at the door. He looks around.  
  
Freddie  
Charley, where the fuck you at?  
  
Cursing, he gets up and goes to the door and OPENS it.  
  
ANGLE ON   
Donaldson standing there, holding open his wallet I.D.  
  
DonaldSON  
Mr. Harris, I'm Jeb Donaldson from the state po --  
  
Freddie  
Yeah, real pleased to make your acquaintance, but I'm in the middle of something here -- did you  
say police?  
  
CUT TO:  
  
Int. House - NIGHT  
Sara and Rudy reaching the front door.  
  
RUDY  
(trying the doorknob)  
Fuck! Who locked it?  
  
SARA  
Back door through the kitchen!  
  
They turn toward the kitchen just as a SHAPE comes out of the darkness and GRABS Sara --  
But Jim appears out of nowhere and SWINGS something at the figure -- CATCHING HIM on the chin   
and sending him sprawling to the floor.   
  
The white mask comes flying off -- revealing Bill underneath the costume.  
  
JIM  
(glaring down at him)  
I just wanna know. Were you in on it from the beginning?  
  
BILL  
Take it easy, dude, chill out.  
  
Sara and Rudy look from Bill to Jim in confusion.  
  
JIM  
Tell us, man.  
  
Bill slowly gets to his feet, looks at the others.  
  
BILL  
Hey, America loves a show. We're giving them a show.  
  
RUDY  
What the fuck is going on here?  
  
Jim points down at the club he used on Bill. It's an arm from the "corpse." In the FLASHLIGHT  
BEAM we see it's phony.  
  
JIM  
(to the others)  
It's fake. We've been set up all along.  
  
BEHIND THEM  
we notice a SHAPE, moving up the stairs in the dark....  
  
CUT TO:  
  
Int. PARTY - NIGHT  
Where the kids look at each other.  
  
STAN  
Busted.  
  
CUT TO:  
  
Int. Living room - NIGHT  
Jim and Bill are still facing off.  
  
JIM  
How much extra are they paying you?  
  
BILL  
Grow up, man. How long do you think people would pay to watch us wandering around an old house   
trying to figure out why some guy went nuts twenty years ago? Michael Myers is old news, man.   
Half the guys on death row have a higher body count.  
  
JIM  
So they figured they'd spice up the evening with a few cheap thrills.  
  
CUT TO:  
  
Int. upstairs - NIGHT  
Where we find Jenna still searching for a place to hide. She looks up and notices the pull-down  
ladder to the attic door. She reaches up, grabs it and gives it a yank --  
  
ANGLE ON DOOR  
as it POPS OPEN -- and A BODY DROPS DOWN, head first, catching by its feet. Brian's dead face   
stares back at Jenna, upside-down like a slaughtered animal, eyes still open.  
  
ANGLE ON JENNA  
screaming at the grisly sight as we  
  
CUT TO:  
  
Int. downstairs - FOLLOWING  
They hear Jenna's scream. Jim nods upstairs.  
  
JIM  
All part of the show?  
  
BILL  
Why don't you just chill, man.  
  
SARA  
You mean it's all fake?  
  
BILL  
Makes for a more entertaining evening if the wayward son makes a return visit. Especially if   
it's timed for Internet prime time.  
  
RUDY  
There's an Internet prime time?  
  
They all turn as  
  
JENNA APPEARS  
at the top of the stairs, her shirt covered in Brian's blood. She opens her mouth but can   
barely speak.  
  
WIDER ANGLE  
as they all look up at her.  
  
JIM  
Good one, Jenna, you passed the audition.  
  
Sara turns to Bill.  
  
SARA  
Open the front door.  
  
BILL  
I didn't lock it.  
  
He goes over to the door, tries the knob --  
  
ANGLE UPSTAIRS  
as a blade suddenly SLASHES out behind Jenna, cleanly SLICING through her neck before she   
realizes it. Her head sits there for an instant -- TOPPLES down the stairs one bump at a time.  
  
CUT TO:  
The plasma screen  
...as we see Jenna's HAT-CAM VIEW of the dizzying descent down the stairs...until it reaches the  
floor and the HAT-CAM pops off, landing inches away from her head and pointed back at her open   
dead eyes.  
  
Int. PARTY - NIGHT  
The kids stare at the plasma screen in amazement.  
  
KYLE  
How the fuck did they do that?  
  
KENNY  
Retractable blade, man.  
  
CUT TO:  
  
Int. GARAGE/CONTROL ROOM - nIGHT  
Freddie is looking in shock at Donaldson, not noticing the MONITOR on the control panel.  
  
Freddie  
When did it happen?  
  
DONALDSON  
Late last night.  
  
Freddie  
Ah, man I just --  
  
But he cuts himself short as he notices:  
  
THE MONITOR  
...and the weird angle looking into Jenna's eyes.  
  
Freddie  
What the...?  
  
CUT TO:  
Int. house - NIGHT  
The shape moving silently down the stairs while  
  
ANGLE ON  
the front door, as Bill gives up on the jammed doorknob.  
  
SARA  
Let's just use the back door.  
  
A hand reaches out of the dark, finds Bill's dropped mask on the floor.  
  
THROUGH MICHAEL'S EYES  
we study the white novelty mask curiously for a moment. Then he lets it fall back to the floor.  
  
ANGLE ON STUDENTS  
as they hear a sound behind them and turn.   
  
Sara's FLASHLIGHT BEAM rises up and HITS  
  
THE SHAPE  
standing there in the white mask and dark jumpsuit.  
  
WIDER ANGLE  
as they all turn to Bill -- who is clearly not wearing the mask this time. SUDDENLY the knife   
in Michael Myers's hand THRUSTS UPWARD deep into Bill's abdomen.  
  
Bill stares into those dead eyes for one quizzical disbelieving second -- then Michael LIFTS the  
impaled man high up in the air as  
  
THE OTHERS  
watch in one monstrous beat of shock -- then run all directions as  
  
MICHAEL DROPS  
the quivering dying body of Bill to the floor.  
  
CUT TO:  
  
THE MONITOR  
where we watch as Sara runs up the stairs, reaching the second floor landing and nearly   
stumbling over Jenna's headless torso.  
  
Int. GARAGE/CONTROL ROOM - NIGHT  
Freddie finally realizing something is very wrong, jumping up and running back toward the house,  
Donaldson a beat behind.  
  
Ext. Backyard - NIGHT  
The two men running out of the garage.  
  
Freddie  
Back door's around the corner, I got the front.  
  
The two men separate and we  
  
CUT TO:  
  
INT. upstairs BEDROOM - NIGHT  
Sara SHUTS the door, TOPPLING a bookcase over to block it.  
  
CUT TO:  
  
Int. KITCHEN - NIGHT  
Rudy runs for the back door but KNOCKS OVER a baker's rack, blocking his escape as   
  
MICHAEL APPEARS  
behind him, striding unhurriedly toward him.  
  
WIDER ANGLE  
as Rudy grabs an old rolling pin and SMASHES it down on Michael's shoulder and Michael's knife   
clatters to the floor.   
  
Rudy raises the rolling pin again but this time Michael's hand reaches out and GRABS Rudy   
powerfully by the throat and DRAGS him over to the stove.   
  
Michael opens the oven door with his free hand and shoves Rudy's head inside -- then SMASHES the  
door down again and again on Rudy's head, turning it to pulp.  
  
CUT TO:  
  
Int. BEDROOM - NIGHT  
Sara looks around in desperation, her eyes finding the small NET-CAM set in the corner of the   
room....  
  
CUT TO:  
  
THE PLASMA SCREEN  
at the party as Sara looks INTO CAMERA.  
  
SARA (STREAMING video)  
Somebody out there, please help us! This is not something we planned.  
He's killing us!  
  
Int. party - NIGHT  
Myles looks at the others.  
  
MYLES  
I don't think she's kidding.  
  
JASON, one of the bigger kids, comes up in his face.  
  
JASON  
Of course she is, you freak. I bet you were one of those people who thought Mars was invading   
too.  
  
MYLES  
I just know she wouldn't....  
  
JASON  
What? What wouldn't she do?  
  
Myles and Scott trade looks.  
  
SCOTT  
Tell him about Deckard, man.  
  
Suddenly the bigger Jason comes up in Myles's face.  
  
JASON  
Tell me what, freak? Who invited you here, anyways? And who the fuck is Deckard?  
  
MYLES  
I know her, all right? Online. Deckard is my log-on name.  
  
Jason looks at him a beat, then they all start laughing.  
  
JASON  
Yeah, right. You met her in a chat room for Masturbaters Anonymous.  
  
MYLES  
(to Scott)  
Let's go.  
  
Scott looks at his friend, back at the party, the giant screen.  
  
SCOTT  
Sorry, man.  
  
Myles grabs his backpack to leave as the others turn back to  
  
THE PLASMA SCREEN  
where Sara is pleading to the Internet viewers.  
  
SARA (STREAMING VIDEO)  
Isn't there anyone out there who'll listen?  
  
CUT TO:  
  
INT. KITCHEN - NIGHT  
Michael looks around, finds the knife on the floor. He starts back into the house when we hear  
something and  
  
ANGLE TO   
The back door -- as it opens and Donaldson comes charging in, pulling his pistol out of a   
shoulder holster as  
  
MICHAEL SPINS  
toward him and GRABS his gun hand. Donaldson looks into Michael's eyes for an instant as   
Michael turns the gun back toward his chest and FIRES -- and Donaldson goes FLYING back against   
the wall and crumples to the floor.  
  
Michael turns back into the house.  
  
CUT TO:  
  
Int. myers BEDROOM - NIGHT  
Sara spins around as she begins to hear FOOTSTEPS on the stairs...then in the hall outside her   
door. She quickly gets her palm pilot out of her bag and turns back to the NET-CAM.  
  
SARA  
Deckard, are you out there?  
  
There is a BANG on the door behind her and we  
  
CUT TO:  
  
MYLES'S ROOM  
as he quickly enters -- then notices his COMPUTER SCREEN.  
  
SARA (STREAMING VIDEO)  
Deckard, if you're there please let me know!  
  
Myles almost trips lurching for his keyboard.  
  
CUT TO:  
  
THE SCREEN  
on Sara's palm pilot, as the words pop up:  
  
DECKARD HERE.  
  
SARA  
(into NET-CAM)  
Deckard, oh God, this is for real! Please. Tell someone. He's killing people!  
  
CUT TO:  
  
THE PARTY  
where the kids stare in stupefaction at the PLASMA SCREEN.  
  
ERIC  
Holy shit.  
  
Scott nods smugly, jumps up and does a victory dance.  
  
SCOTT  
(singing)  
He got the booty, he got the booty.  
  
CUT TO:  
  
Int. MYERS BEDROOM - NIGHT  
Sara looks back at the door -- as it suddenly SHAKES violently as Michael throws his weight   
against it.  
  
CUT TO:  
  
Int. MYLES'S HOUSE - NIGHT  
Myles runs down the stairs so fast he almost takes a header.  
  
INT. LIVING ROOM - fOLLOWING  
Myles's MOTHER looks over from the TV and his FATHER looks up from his evening paper.  
  
MOTHER  
Take it easy on the stairs, Myles.  
  
MYLES  
Mom! Dad! You've got to listen!  
  
FATHER  
I thought you came home to study.  
  
MYLES  
Dad, people are being killed on the Internet.  
  
FATHER  
Don't you have a math exam tomorrow?  
  
Myles tries to calm himself and get their attention.  
  
MYLES  
Dad, he's killing people.  
  
FATHER  
What are you talking about?  
  
A beat, as Myles steels himself for the inevitable.  
  
MYLES  
I...logged onto a chat site. And tonight we were watching the --  
  
FATHER  
I see.  
MYLES  
Dad, you can ground me till I'm fifty, but you've got to listen. There are people being killed.  
  
FATHER  
Are you aware of what day it is?  
  
MYLES  
Of course, what does that -- ?  
  
FATHER  
Have you ever heard of "Invasion From Mars"? Orson Welles's radio broadcast of Halloween, 1939?  
  
MYLES  
It was "War of the Worlds" and it was 1938 and this is no hoax. Michael Myers has come back to   
Haddonfield.  
  
FATHER  
I see. You're grounded. Until you're fifty.  
  
Myles looks at his father another beat, then runs back upstairs.  
  
CUT TO:  
  
Int. MYERS BEDROOM - NIGHT  
The BANGING on the door STOPS: has he given up?  
  
INT. HALL - NIGHT  
Michael Myers notices something on the floor. He reaches down.  
  
CUT TO:  
  
THE COMPUTER SCREEN  
in MYLES'S ROOM -- as Michael Myers looks directly at us. He is looking INTO one of the dropped  
HAT-CAMS.  
  
CUT TO:  
  
Ext. Myers House - Night  
Freddie KICKING at the front door until it finally BURSTS open.  
  
Int. House/CONTROL ROOM - CONTINUOUS  
Freddie running in, spotting Bill's body on the floor.  
  
FREDDIE  
Oh, shit.  
  
CUT TO:  
  
Int. Myers Bedroom - NIGHT  
Sara taking a tentative step toward the door as the message BEEP comes on her palm pilot and the  
words jump on the screen:  
  
HE'S OUTSIDE THE DOOR!  
  
CUT TO:  
  
MYLES'S COMPUTER SCREEN  
where we see Michael just on the other side of the door.  
  
CUT TO:  
Int. myers BEDROOM - NIGHT  
Where suddenly the door SHUDDERS as Michael throws his full weight into it. Sara grabs her palm  
pilot and runs to the window, opening it quickly. She climbs OUTSIDE just as the door BURSTS   
OPEN and Michael CHARGES inside in a blind rage.  
  
Ext. Ledge - CONTINUOUS  
Sara makes her way precariously along the narrow ledge, then hoists herself up onto the sloping  
ROOF as BELOW HER  
  
Michael's head pops OUTSIDE the window.   
  
But she is already out of view as she moves along the narrow spine of the roof and over to the   
attic window. She tries to open it but it's locked...so she SMASHES the glass with her foot and  
quickly slips into the attic.  
  
Below her Michael looks up at the sound of the breaking glass.  
  
INT. ATTIC - fOLLOWING  
Sara looks down as her palm pilot BEEPS with a message:  
CAN'T SEE YOU!  
  
She thinks quickly, takes off her HAT-CAM, points it at herself.  
  
SARA  
Deckard! Where is he?  
  
CUT TO:  
  
Int. MYLES'S ROOM - NIGHT  
Myles looks at the grid of views on his computer screen.  
  
MYLES  
(as he types)  
Don't know! Can't see him!  
  
CUT TO:  
  
Int. ATTIC - NIGHT  
A SHADOW crosses the window behind Sara and we  
  
CUT TO:  
  
Int. MYLEs'S ROOM - nIGHT  
Myles grabs his phone while focused on his computer screen.  
  
MYLES  
(on phone)  
I need the Haddonfield, Illinois police department. This is an emergency.  
  
CUT TO:  
  
Int. ATTIC - night  
Sara moves about in the DARK and STUMBLES over a pile of junk -- sending her palm pilot   
clattering to the floor.   
  
She curses, making her way to the ladder, where she has to climb over Brian's body, still   
hanging there.  
  
Int. Hallway - CONTINUOUS  
She runs down the hall --   
  
Until an arm reaches out of nowhere and GRABS her --  
  
ANGLE TO FIND  
Freddie standing there, covering her mouth so she can't scream. He looks behind her.  
  
Freddie  
Where is he?  
  
SARA  
I don't know.  
  
CUT TO:  
  
Int. MYLES'S ROOM - NIGHT  
Where we find Myles intent on the phone.  
  
MYLES  
No, this isn't a Halloween prank. You've got to listen to me.  
  
CUT TO:  
Int. MYERS HOUSE - nIGHT  
Freddie and Sara move toward the stairs when SUDDENLY the hall window BURSTS inward as a SHAPE   
come FLYING through it and Michael LANDS in front of them, BLOCKING their escape.  
  
But Freddie suddenly LANDS a SIDE KICK to Michael's chest -- sending Michael sprawling back   
against the wall.  
  
Freddie  
Weren't expecting me to kung fu your ass, were you?  
  
Michael straightens and comes at Freddie again and this time Freddie lands three quick fists to   
the torso and head and a SPINNING KICK --   
  
But this time Michael CATCHES Freddie's ankle in mid-kick.   
  
They stare at each other a beat -- then Freddie JUMPS off his other leg and twists in the air --  
CATCHING Michael on the chin -- and they both go CRASHING through the door into  
  
Int. MASTER BEDROOM - CONTINUOUS  
Michael slashes with his knife and Freddie CATCHES his hand and they struggle wildly across the   
room --  
  
Sara GRABS the venetian blind cord -- JUMPS onto Michael's back. Michael SPINS crazily,   
slashing at Freddie, trying to get Sara off his back -- as Sara wraps the cord around Michael's   
neck and jumps off as --  
  
Freddie SPRINGS at Michael like a linebacker -- PROPELLING Michael THROUGH THE WINDOW in an   
EXPLOSION of GLASS -- until the venetian blinds SNAP out of their housing as  
  
Ext. House - CONTINUOUS  
Michael PLUMMETS toward the ground until the venetian blinds get CAUGHT in the window frame --   
and Michael's body STOPS in mid-drop, the cord a taut noose around his neck.  
  
His body twitches violently, once, twice, then STOPS.  
  
He hangs there, unmoving.  
  
Int. MASTER BEDROOM - CONTINUOUS  
Freddie and Sara rush to the window and look OUTSIDE to see  
  
Ext. HOUSE - CONTINUOUS  
Michael HANGING there, lifeless.  
  
INt. MASTER BEDROOM - CONTINUOUS  
They look at each other, amazed they're still alive.  
  
Freddie  
Let's get the fuck out of here.  
  
Int. Hall - CONTINUOUS  
They run out of the room and start down the hall --   
  
And a BASEBALL BAT comes SWINGING downward out of the darkness -- CATCHING Freddie on the side   
of the head and dropping him lifeless to the floor.  
  
ANGLE ON  
Jim standing there, holding the bat. He looks down at Freddie, realizing.  
  
JIM  
Oh, shit.  
  
But Sara is on the floor, feeling for a pulse.  
  
JIM  
Is he dead?  
  
SARA  
I don't know. We've got to get help.  
  
She straightens and they head quickly to the stairs.  
  
CUT TO:  
  
Ext. HOUSE - NIGHT  
Where, outside the window, we see Michael's hanging body. A moment, then:  
His hand twitches...and slowly starts moving upward, still holding the knife.   
The blade starts cutting through the venetian blind cord.  
  
CUT TO:  
  
Int. DOWNSTAIRS - NIGHT  
Sara and Jim run for the front door --   
  
Ext. HouSE - CONTINUOUS  
They make it out the door -- just as a figure DROPS DOWN in front of them BLOCKING their path.  
  
Michael Myers stands there, a fragment of rope still dangling from his neck.  
  
Jim SWINGS the baseball bat in one vicious arc -- CATCHING Michael on the head and sending him   
to the ground in a heap.  
  
Jim and Sara look at each other, wide-eyed.  
  
JIM  
It's okay. No way he's getting up after that.  
  
Michael sits up and looks at them. They look back at him.  
  
Jim SWINGS the bat again, this time bringing it STRAIGHT DOWN -- but Michael reaches up and   
GRABS the bat in mid-swing. He stands up.   
  
Jim tries desperately to free the bat from his grip -- until Michael PUSHES the bat back toward   
Jim's face -- HITTING him in the mouth with the narrow end -- DRIVING the bat handle into his   
mouth -- and OUT THROUGH the back of his head. Jim's body quivers a few instants, then hits the  
ground dead.  
  
Sara stares at Jim's body, at Michael, a beat of unspeakable horror -- then turns and runs back   
INTO the house.  
  
Int. House- CONTINUOUS  
Sara runs through the LIVING ROOM and into the KITCHEN and out through the back door into:  
  
Int. Garage/control room- CONTINUOUS  
Where she ducks down low behind the control panel.  
  
CUT TO:  
  
Int. MYLES'S ROOM - nIGHT  
Myles slams down the phone in anger. Then he gets an idea. He picks up the phone again and   
quickly hits redial.  
  
POLICE DISPATCHER   
(filtered)  
Haddonfield police emergency.  
  
MYLES  
Officer down! 45 Lampkin Lane!  
  
CUT TO:  
  
Int. garage/control room - NIGHT  
Sara hunches behind the control panel.   
  
CUT TO:  
  
Int. MYLES'S ROOM - NIGHT  
Myles is again at his computer, watching the GRID of VIEWS from around the house. Finally he   
can't take it anymore. He gets up, grabs his jacket and is out the door.  
  
Int. Downstairs - NIGHT  
Myles's parents look up as he passes them in the living room.  
  
Mother  
Myles?  
  
But he is already out the front door.  
  
CUT TO:  
  
INT. CONTROL ROOM -NIGHT  
Sara remains crouched in the darkness, looking around desperately for a way out.  
  
ANGLE ON DOORWAY  
as Michael appears there. He steps inside the control room.  
  
ANGLE ON SARA   
ducking down only yards away. We hear Michael's FOOTSTEPS.  
  
She looks over at:  
  
ANGLE ON   
the mass of electric cables feeding the control panel....  
  
CUT TO:  
  
Ext. StreetS - NIGHT  
Where we find Myles racing along on his bicycle. He catches up to a delivery truck, grabs onto   
the back bumper and lets the truck pull him along as it speeds up.  
  
CUT TO:  
  
Int. GARAGE/CONTROL ROOM - NIGHT  
Michael's head twitches toward a sound deeper in the room.  
  
BEHIND THE CONTROL PANEL  
Sara finds the main input cable and pulls it from its socket.  
  
MICHAEL SPINS  
toward the control panel as he hears her.  
  
SARA DUCKS  
back down behind the control panel with the cable. She peers back through the mass of wires and  
connectors as the shape moves toward her, homing in on his target like a shark.   
  
She looks around frantically, noticing:  
  
INSERT   
Charley's giant cup of Mochaccino, at the edge of the panel.  
  
SHE REACHES  
one hand quietly up to grab the cup, then ducks back down as  
  
MICHAEL MOVES  
among the cables and hardware, knife glinting in his hand.   
  
ANGLE ON SARA  
as she quietly spills the coffee in a puddle on the floor, then tries to hide back behind the   
control panel as suddenly  
  
MICHAEL APPEARS  
above her and his knife SLASHES viciously down toward her but his arm gets CAUGHT in the web of   
connecting cables.  
  
WIDER ANGLE  
as Sara tries to slip by him in the narrow space as Michael THRASHES about in the cables,   
getting entangled, SPARKS flying as his blade SLASHES through wires and connectors.  
  
Sara pokes at him with the prongs of the electrical wire, catching him in the torso and causing   
his body to spasm even more violently as the knife SWINGS down at her, missing her by inches.  
  
Finally Michael frees himself and comes after her....  
  
Sara breaks for the door, dropping the cable into the pool of coffee -- as Michael LUNGES at her  
...then STIFFENS as we hear a CRACKLE. She turns back to the SIZZLING and SPUTTERING.   
  
Michael stands stiffly in the pool of blood, his back arching ramrod straight as the voltage   
courses through his body. SMOKE pours from the mask eyeholes, until it starts melting, merging   
with his face.  
  
Sara watches in horror and relief as finally Michael slumps as the electricity shorts out in an   
explosion of sparks, his body held up by the cables in an eerie tableau, arms spread cruciform   
like a dark messiah of the new millennium.  
  
CUT TO:  
  
Int. Party - NIGHT  
The PLASMA SCREEN goes BLACK and everybody moans.  
  
ERIC  
Hey! Ripoff!  
  
CUT TO:  
  
Int. GARAGE/CONTROL ROOM - NIGHT  
The hot electrical wires suddenly BURST into FLAME and quickly IGNITE the ancient Dry timbers of  
the garage.  
  
ANGLE ON SARA  
trying to run through the obstacle course of cable and electronics and old junk as  
  
ALL AROUND HER  
FLAMING chunks of wood are falling and BURSTING into new outbreaks of FIRE --  
  
The door is BLOCKED by a heap of burning rubble --  
  
She looks around frantically, trapped until --  
  
SUDDENLY A FOOT  
CRASHES through the burning wall and a hand REACHES inside --  
  
MYLES (o.S.)  
Sara!  
  
She reaches for the hand --  
  
Ext. GaRAGE/CONTROL ROOM - CONTINUOUS  
Myles PULLS her through the crumbling burning wall to safety and they fall to the lawn. In the   
distance, we finally hear the police and fire engine SIRENS.   
  
ANGLE ON GARAGE  
now fully engulfed in flames, POPPING and CRACKLING.  
  
ANGLE ON  
Sara and Myles watching as   
  
THE GARAGE   
finally ERUPTS in one final spasm of FIRE -- then COLLAPSES in on itself, on Michael Myers, in a  
conflagration sending flames leaping high into the night sky.  
  
ANGLE ON   
Sara and Myles, as she turns to him, still out of breath.  
  
SARA  
I got one question.  
  
MYLES  
What?  
  
SARA  
Who the hell are you?  
  
MYLES  
Well. Um. That might require some explaining....  
  
CUT TO:  
  
AERIAL VIEW   
LOOKING DOWN on the Myers house from the vantage point of a NEWS HELICOPTER. By now police,   
fire, and EMS vehicles are all around, assessing the carnage. We MOVE DOWN to  
  
GROUND LEVEL  
and MOVE PAST Donaldson, who's leaning against a police car. His shirt is unbuttoned and we   
see the bulletproof vest underneath. One of the Haddonfield cops nods at the vest.  
  
Cop  
We were supposed to get those.  
  
DONALDSON  
I highly recommend them.  
  
CONTINUE MOVING  
until we FIND Sara, wrapped in an EMS blanket sitting on the ground beside Myles. He looks at   
her, shrugs.  
  
MYLES  
I guess you were probably expecting somebody, you know...taller.  
  
SARA  
Well, I was accepting somebody who shaved.  
  
MYLES  
It's not like I won't. Eventually.  
  
SARA  
Actually, it's pretty funny.  
  
MYLES  
It is?  
  
SARA  
My roommate said you were probably fifty and bald.  
  
He grins, rubs his head.  
  
MYLES  
Got lots of hair.  
  
SARA  
Hey.  
  
MYLES  
What?  
  
SARA  
You still haven't told me. Is Deckard your real name?  
  
MYLES  
You'll think I'm lame.  
  
SARA  
No, I won't.  
  
MYLES  
He's the hero in "Blade Runner." It's my favorite movie. My real name's Myles. Berman.  
  
SARA   
Well, Myles Berman, I think I owe you a Mochaccino.  
  
Their voices slowly FADE OUT as we start MOVING AWAY from the backyard...and edge up into the   
deep black night sky.  
  
DISSOLVE TO:  
  
Ext. Myers yard - pre-dawn  
Firemen sift through the SMOKING rubble of the garage.   
  
A SMALL CROWD  
of onlookers watches from behind police barricades, among them parents with kids still dressed   
in Halloween regalia.  
  
WE FIND DONALDSON   
in the middle of the ruins, searching, searching.  
  
ANGLE ON   
one of the firemen, shaking his head.  
  
Fireman  
Nothing here....  
  
Donaldson looks over at him.  
  
DONALDSON  
Is it possible there's nothing left of him? That he just burned up?  
  
FIREMAN  
No way. Takes three hours at fifteen hundred degrees to cremate a body, and you'll still find   
bone fragments.  
  
DONALDSON  
Then he's got to be in here.  
  
GO CLOSER  
to Donaldson as he continues the search with intensity, moving among the charred ruins. He   
lifts one fragment of wood then another, finding nothing. With a strange desperation he squats   
down to pry a blackened beam loose -- but there is nothing underneath but more embers.  
  
SUDDENLY he hears a CRUNCH from behind him and turns --  
  
AND MICHAEL MYERS  
is standing behind him with knife upraised --   
  
DONALDSON FALLS  
back into the ashes as we go  
  
WIDER TO REVEAL  
it's just a kid in Michael Myers costume who somehow got past the police line. His father grabs  
the rubber knife out of his hand and scurries him away.  
  
TIGHT ON DONALDSON  
still catching his breath, spooked.   
  
Then he looks over and finds  
  
ANOTHER MICHAEL MYERS  
standing behind a police car.  
  
AND ANOTHER ONE  
standing near a tree.  
  
ANGLE ON DONALDSON  
as he looks this way and that as  
  
SUDDENLY EVERYWHERE  
we see Michael Myers, all around us, a series of masks, white faces and dark jumpsuits in the   
crowd, on the street. Is one of them real? Is he escaping in a sea of imitators?  
  
A WIDENING CIRCLE   
FINDS one face. Then another. And another.  
  
All around us.  
  
Then suddenly nothing. Nothing.  
  
HARD CUT TO BLACK.  
  
THE END 


End file.
